Undying Color seems like a strange experiment at first, but it ends up being one of the most enjoyable releases in the Mind Over Mirrors catalog.

Turbulent yet strangely comforting, No Future is one of Moiré's best works yet.

The mild growth and light sophistication they show in spots doesn't make the record any less of a rollicking good time. Just like they have since their early days, the Orwells bring the songs, the suds, and the knuckleheaded energy to the party.

The album gathers songs of a more personal nature than were fitting for his band's fierier post-punk disposition, with a few actually predating Ought. Not that Saturday Night is a sullen acoustic-guitar record; rather, Darcy is more reflective here, sometimes channeling early solo Lou Reed and sometimes wandering into more experimental meditations.

This is a burner from start to finish, enjoyable for anyone with a pulse.

She's created a cool, sensual sound for Close Your Eyes, spinning off of her signature subdued adult alternative pop but adding in significant elements of electronica, particularly an echo of trip-hop past.

This is tough, smart, impassioned rock & roll with a sense of purpose and lots of swagger, performed with the confidence of a veteran and the scrap of a newcomer. It's heady stuff well worth your attention.

Its gleaming surface feels shinier than previous McMahon productions, but rather than seeming like an attempt to chase trends, these inflections and accents feel like a culmination of craft. McMahon has long understood how to craft a song, and Zombies on Broadway proves he has the studio skills to match.

Along with having one of the best titles of recent memory, Bobby Fuller Died for Your Sins confirms that more than 25 years after making his solo debut, Chuck Prophet remains one of America's strongest songwriters and recording artists, and he's in great form here.

Ultimately, it's Towner's immense gift for portraying that kind of romantic drama that makes My Foolish Heart such an evocative listening experience.

Tinariwen once again deliver a vital and engaging album.

Trigger Complex is a late-career gem that's both resonant and a shit-ton of fun, and its lack of any sort of agenda is its greatest strength.

Fans who have been following Black Joe Lewis' career since his 2007 debut album will find a lot of what they like on Backlash. But there's also enough that's fresh, tough, and challenging to remind listeners that Lewis is still moving forward, putting a modern-day perspective on the tropes of classic soul and R&B.

The range in quality here indicates that superior work is in reserve.

His influences are worn lightly, the melodies remain inventive, and there is a real elegance to Sinkane's music. Hopefully next time he'll get back in the driver's seat.

If anything, the defining factor on The Temple of I & I is that it's their most formless record to date.

With her eighth proper solo album as Noveller, Lipstate continues to push her otherworldly sound in fascinating new directions.

This is as enjoyable as the duo's debut, another set that rewards deep listening for those with an affinity for Eno/Moebius/Roedelius, Global Communication, the Detroit Escalator Co., and the tranquil aspects of Kompakt's Pop Ambient series.

Just like the Aurora Borealis on the front cover, Northern Passages is something mysterious, dark, and beautiful, and it's a further reminder that the Sadies are one of the truly great, original bands of their day.

This music is as much fun to listen to as it is serious and vital.

The slowly paced synth waves and soft bass pulsations of "Breath" close out this enjoyable album.

With any due credit to Mills, who not only produced but shares instrument duty here, Memories Are Now is exquisite-sounding while it contends with a songwriter who not only has a few things to get off her chest, but seems to make a call to action.

Blue is an inarguably impressive full-length debut in terms of Communions' ability to evoke the sound and mood of a particular time and place, but it might be a stronger work if the groupmembers had actually witnessed the time and place themselves.

Microclimate may be homespun, but it's Porcelain Raft's most cosmopolitan and lived-in sounding offering to date. It's a record that consistently compels, even when it confounds.

While I Decided. may not light up the club like his past efforts, it shines a different, more nurturing light onto deeper parts of his soul.

With its environmental sound and complementary lyrics, Mowing seems to encourage daydreaming, even verbally acknowledging a return to reality when airport noise invades the closing track. Regrettably, hammock not included.

South Texas Suite is infused with genuine passion: it's a love letter to the Lone Star State.

Oldfield's Ommadawn is an enchanted place and this lush revisitation both honors his initial creation and neatly extends its boundaries.